North Van Arts is presenting Women, Life, Freedom, an exhibition that celebrates the beauty and strength of Iranian women.
Curated by Saghi Ehteshamzadeh, an Iranian-born artist based in Vancouver, the exhibition features an array of artworks by female artists, celebrating the beauty and strength of Iranian women.
The title of the exhibition is a reminder of the Woman, Life, Freedom movement that began in Iran following the tragic death in custody of 22-year-old Mahsa Amini, who was arrested in Tehran by morality police – a dedicated unit that enforces strict dress codes for women – on Sept. 16, 2022. Approaching the anniversary of the movement, this exhibition provides a platform for the voices of Iranian women to be heard and their stories to be shared.
Ehteshamzadeh, holding a bachelor degree in Cinema Studies from Art University of Tehran and studying Arts and Entertainment Management at Capilano University, believes that what’s happening in Iran is not receiving enough exposure, especially in the Western world. For her, art has become an impactful tool to bring attention to the movement.
“Since the Woman, Life, Freedom movement started in Iran, as an Iranian woman and as an artist, I felt compelled to use my platform and my tool, which is art, to spread the word about what was going on in my country,” she said.
As the Woman, Life, Freedom movement took hold in Iran, Ehteshamzadeh began using art as a form of activism to raise awareness about the movement and the injustices women face there. During the Catalyst: Art as Activism conference at Capilano University in 2022, it was highlighted how art has played a crucial role in the ongoing female-led movement in Iran.
For the Women, Life, Freedom exhibition, Cityscape Community ArtSpace invited artists to apply through open calls, ensuring diverse perspectives.
“What I wanted to focus on was the Woman, Life, Freedom movement and the resilience and bravery of women and I wanted to address the inequality that women were facing in Iran and internationally.”
Alongside art pieces by Iranian artists, the exhibition also features works by other artists. One of the pieces is titled You Will Never Walk Alone, created by Turkish artist Ece Asitanelioğlu. Through her sculpture, she aims to “depict the struggle of women and the oppressed using the gesture of turning your head backwards while walking alone because of not feeling safe on the streets,” as mentioned in the exhibition’s brochure.
Additionally, three pieces by Canadian artist Kate Arkletian are showcased, featuring uterine sculptures that represents the power of the feminine in a variety of ways.
Ehteshamzadeh emphasizes that the inequality women face is not limited to Iran, and the exhibition aims to encourage more dialogue about this issue.
Among the artworks is a piece by Iranian artist Mina Saneei, which is a pair of glasses with cracked glass as homage to the victims of violence during the Woman, Life, Freedom movement in Iran. These protesters, including individuals like Mohsen Kafshgar and Ghazal Ranjkesh, tragically lost their vision due to bullets fired during the demonstrations. According to a report by the Center for Human Rights in Iran, 26 individuals were identified as victims of blinding by state security forces. The CHRI has learned that the actual number of victims of blinding is higher, and many others have chosen to remain silent out of fear of state reprisals.
Ehteshamzadeh hopes viewers will engage with the artworks and take away one particular message: Hope.
“I’d like to send across the message of hope, that after all the tragedies that happened, there will be hope for a free Iran. Specifically on the North Shore, there is a big community of Iranians, and I think it’s good to stand in solidarity with Iranian people. The movement in Iran is still ongoing, and people are still risking their lives and freedom to fight this injustice, and I believe it’s very important to have such shows to spread this message.”
According to Amnesty International, since the start of the protests, 22,000 people have been arrested in Iran, and as of April 4, at least 537 people had been killed in the anti-government demonstrations, as reported by the Norway-based watchdog Iran Human Rights.
The exhibition also includes art pieces by other artists such as Audineh Asaf, Ashrafi, Elmira Sarreshtehdari, Yasaman Moussavi, Goli, Kiana Shahnia, Laleh Jahaveri, Moozhan Ahmadzadegan, Nazanin Khalili, Roselynn Sadaghiani, and Sanaz Haeri. The Cityscape Community ArtSpace exhibit welcomes visitors until Aug. 26.
Hamid Jafari is a Vancouver-based freelance journalist who writes about the Iranian community in Canada, art, culture, and social media trends. His work for the North Shore News is supported by New Canadian Media. itshamidjafari@gmail.com
LONDON (AP) — With a few daubs of a paintbrush, the Brontë sisters have got their dots back.
More than eight decades after it was installed, a memorial to the three 19th-century sibling novelists in London’s Westminster Abbey was amended Thursday to restore the diaereses – the two dots over the e in their surname.
The dots — which indicate that the name is pronounced “brontay” rather than “bront” — were omitted when the stone tablet commemorating Charlotte, Emily and Anne was erected in the abbey’s Poets’ Corner in October 1939, just after the outbreak of World War II.
They were restored after Brontë historian Sharon Wright, editor of the Brontë Society Gazette, raised the issue with Dean of Westminster David Hoyle. The abbey asked its stonemason to tap in the dots and its conservator to paint them.
“There’s no paper record for anyone complaining about this or mentioning this, so I just wanted to put it right, really,” Wright said. “These three Yorkshire women deserve their place here, but they also deserve to have their name spelled correctly.”
It’s believed the writers’ Irish father Patrick changed the spelling of his surname from Brunty or Prunty when he went to university in England.
Raised on the wild Yorkshire moors, all three sisters died before they were 40, leaving enduring novels including Charlotte’s “Jane Eyre,” Emily’s “Wuthering Heights” and Anne’s “The Tenant of Wildfell Hall.”
Rebecca Yorke, director of the Brontë Society, welcomed the restoration.
“As the Brontës and their work are loved and respected all over the world, it’s entirely appropriate that their name is spelled correctly on their memorial,” she said.
In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.
Alleged Fraud Scheme
Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.
Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.
Massive Seizure of Artworks
In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.
Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.
Artwork Returned, but Some Remain Unclaimed
In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.
Court Proceedings Ongoing
The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.
Impact on the Local Art Community
The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.
For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.
As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.
While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.
Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.
As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.
